Media and Entertainment: DATCON 2 - An Industry That Must Centralize Its Data Management Practices - Seagate
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Media and Entertainment: DATCON 2 An Industry That Must Centralize Its Data Management Practices David Reinsel – Leslie Hand – John F. Gantz November 2018 An IDC White Paper, Sponsored by A N A LY Z E T H E F U T U R E
Executive Summary
DATCON stands for DATa readiness CONdition (DATCON)
The goal of the DATCON index is to expose the strengths, opportunities, and data
competency for a given industry, specifically as they relate to managing, analyzing,
leveraging, and capitalizing on data. This project is designed to analyze various industries
regarding their own Dataspheres, data management, usage, leadership, and monetization
capabilities (see “Methodology” for more details).
Figure 1
DATCON Index Score Media and Entertainment 2.0
DATCON Levels
Industry is Suppliers are A DX culture is A skilled workforce A strong vision
4.1 - 5.0
5 leading in DX synced and
healthy
driven throughout
from the top
is executing
advanced initiatives
exists on what data
is needed, leveraged,
Optimized and monetized
Industry leading Vibrant Many DX initiatives Data management Good pulse on
3.1 - 4.0
4 in some areas of
digital
ecosystem owned and
budgeted at the
well under
control
leveraging data to
fullest extent
Advanced transformation highest level
Industry on Decent Some C-level Corporate-owned Usually strong
3
2.1 - 3.0
par with the ecosystem with commitment visions and in one area of
average similar visions initiatives in place 3rd-platform
Average technologies
Industry is in Limited vision, There may be No C-level Most data never
2
1.1 - 2.0
catch-up mode though there some limited commitment, monetized
are pockets of 3rd-platform often a LOB
Needful action initiatives initiative
Industry Disaggregated No vision for No leadership An impending
1
0.1 - 1.0
disarray ecosystem 3rd-platform within data tsunami with
technologies companies no survival plans
Critical
Source: IDC’s Data Age 2025 study, sponsored by Seagate
The media and entertainment industry is large media and entertainment companies will
and varied, with a wide range of companies increasingly produce and distribute
that produce and distribute films, television augmented reality and virtual reality content.
programs and commercials, sports, streaming The industry has largely navigated digital
content, music, audio, newspapers, books, disruption, yet media and entertainment
magazines, and video games. Additionally, companies still face the challenge of dealing
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 2
with increasingly competitive and fickle managing, securing, and distributing media
markets. Consumers have more ways than ever and entertainment data. Yet, given the long
to consume content, driving the need to history of the industry, many legacy media and
create, distribute, and manage data in smarter, entertainment companies find that their
more efficient ways than ever before. At the valuable data is spread across multiple
same time, they need to generate more locations, contractors, and even rogue
revenue from capitalizing on new partnerships equipment. The need to corral this data into
and content delivery opportunities. centralized repositories for security is obvious;
more importantly, if media and entertainment
The focus on revenue generation often results companies are going to be able to deliver (and
in IT budgets focused more on production monetize) the type of on-demand, dynamic,
technology than data management. Certainly, personalized content the future portends, then
digitally-native large production and data consolidation is mandatory, and
distribution companies such as Amazon, investment in data management, analytics, AI,
Netflix, and YouTube are at the cutting edge of and edge computing must accelerate.
From a DATCON perspective, the data competency of the media and entertainment
industry overall is at DATCON 2, with a few highly competent companies operating at the
leading edge of technology innovation and data management. Many companies, however,
are playing catch-up (Figure 1).
The following are some key findings earning the media and entertainment
Industry a DATCON score of 2.0:
Digital disruption in the media and (CAGR). Going forward, the media and
entertainment industry has led to rapid entertainment Datasphere is expected to
data growth. From 2010 to 2018, the media grow relatively more slowly than other less
and entertainment Datasphere grew at a digitally transformed industries, at a
43% compound annual growth rate 2018–2025 25% CAGR.
Extracting value from a digital library of analytics and the ability to harness social
media and entertainment assets requires media are key competitive advantages for
technology to deliver the right content at media and entertainment companies, but
the right time to the right audience — on many are ill-prepared to deliver, let alone
any screen at any time. Big data and capitalize, on this Datasphere dynamic.
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 3
Although there is solid support from top-level We have a goal
executives for technology innovation, budgets
of consolidating 20
are constraining foundational elements of digital
transformation for many industry participants. datacenters down to three,
For example, 85% of media companies with a target to move 75% of the
surveyed had a corporate vision for cloud
datacenter assets across our company
computing; some companies have
aggressive goals for cloud migration. to the cloud over the next three years.
Although 70% of companies expected to Today, we have around 25% of our
have budget available for cloud computing,
storage in the cloud.
less than 30% of cloud-computing budgets
were fully funded, and 30% had no funding at all. CIO and SVP of Corporate IT,
Major Media Firm
This was a consistent theme across many of the
media and entertainment companies: The vision and
desire did not always align with the necessary funding.
IT investment by media and entertainment advanced architectures, edge computing,
companies overall was the lowest of all cloud, and other necessary technologies.
industries analyzed in this study. The Particularly bothersome for media and
investment is often highly fragmented entertainment companies are the
across an organization, making it difficult seemingly endless pockets of data that are
for IT departments to catch up with data difficult to consolidate.
management difficulties, let alone invest in
There is a lot of data, especially as our marketing groups have digitized. A
lot of that has been done by third parties, and there’s a lot of data we own,
but it sits out with other people. A big part of trying to figure out that data
environment … is how we might bring back that data and store it. We may
not even know what we need it for, but we need it stored in one place so
that others, like data scientists, can have access.
CIO and SVP of Corporate IT, Major Media Firm
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 4
Compared to other industries, the media analytic, and real-time data. On the other
and entertainment industry is less exposed hand, security of data is paramount and
to the growth of critical, hypercritical, receives a high priority.
Security around the media and seek to pay for their investment and future
entertainment Datasphere often is revenue where companies seek to drive
time-sensitive. For example, to unlock the maximum profit. Security will need to be
full data value potential, security is at the more dynamic as the augmentation of
highest level up through the release of a sports, the growth in electronic sports
movie. Any leak of production footage let (esports), and the rise in socially created
alone a complete asset has the potential to and driven content drive consumer habits.
decimate initial revenue where companies
While some media companies have a solid understanding and ability to extract value from
their data, many more media companies are limited in their understanding of data’s value.
Consider the following dynamics that have the potential to disrupt the value of media and
entertainment data:
Anything a CPU touches has a deflationary impact (i.e., creating something
virtually is cheaper than creating the real thing) … eventually the actors and
actresses … the building out of sets … all of a sudden instead of millions of
dollars … it's hundreds of thousands.
CIO and SVP of Corporate IT, Major Media Firm
Longer term, think if popular game show hosts like Pat Sajak and Vanna
White could be digitally created and forever young and speak Spanish and
Russian … you would just have to license the avatar … that would really
change the value of data quite a bit.
CIO and SVP of Corporate IT, Major Media Firm
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 5
Chapter 1
Media and Entertainment Survey Data
The media and entertainment industry
has a critical need to seize Figure 2
opportunities to consolidate and 1.7 2.6
monetize libraries of digital Leadership Datasphere
content, and it is a task that Survey Slowest growing
Lowest in managing Datasphere, but AR/VR,
is beyond the current
data, security an issue security, and analytics are
capabilities of many data driving it
center managers and
CIOs. Of the 275 media 1.8 1.9
and entertainment Data DATCON Digital
data center managers Valuation Index Score Transformation
2.0
and CIOs surveyed, Legacy understanding Blockchain, AR/VR,
being disrupted by and AI require
41% indicated there new consumer more funding
were plans to expand consumption
dynamics
or significantly
expand use of the
cloud. However, with 3.4 1.0
decentralized budgets C-Level Buy-in Structural
C-level involvement is Lowest spend and IT
and large ecosystems of
solid, but there is a laggard with aggressive
content-producing suppliers, lack of funding cloud aspirations
this is simply a monumental task.
Source: IDC’s Data
Of the same individuals surveyed, 42% Age 2025 study, sponsored
by Seagate
indicated they had difficulty in predicting
and managing the growth of data they are experiencing (Figure 2).
Of the 275 media and entertainment data center managers
and CIOs surveyed, 41% indicated there were plans to
expand or significantly expand use of the cloud.
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 6
The top three investment priorities for the media and entertainment companies surveyed were
cloud, IoT, and big data and analytics. Blockchain, augmented reality/virtual reality (AR/VR), and
robotics were the bottom three priorities (Figure 3).
Figure 3 - Media and entertainment leading and lagging investment priorities
Budget Available?
80%
70%
60%
50%
40%
30%
20% Yes
10%
No
0%
Cloud IoT Big data/ Edge AI Blockchain AR/VR Robotics
analytics computing
Source: IDC’s Data Age 2025 study, sponsored by Seagate
Getting control of digital media assets by Digital rights management (DRM) and anti-pirating
moving them to the cloud is an important first technologies can be enhanced effectively by
step for many media and entertainment integrating new blockchain strategies that can track
companies. Unsurprisingly, IT spending the authenticity of media throughout its entire life.
investment in the cloud is listed as the New augmented and virtual realities are guaranteed
number-one investment priority for the media to be a part of the media and entertainment future,
and entertainment industry. Cloud investment is whether an augmented roller coaster experience or
a necessary first step if companies are going to a movie enhanced within a virtual environment. It is,
have responsive, agile infrastructures that can however, easier said than done.
analyze real-time data feeds and respond with
dynamically created, personalized content in Creating a virtual anything requires a lot of data
AR/VR environments. analytics and intelligence if it is to be believable.
Intersecting it with consumers' preferred
Once digital assets have been migrated and consumption habits at any given time also requires a
aggregated in the cloud, then media and special skill set among workers (data scientists) who
entertainment companies must invest more in must figure out not only what data is necessary, but
analytics, blockchain, and AR/VR. also where and how it should be stored.
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 7
Our physical reality is fraught with imperfections, If media and entertainment companies are to
inconsistencies, and randomness; yet, we see it succeed with future VR initiatives, they must
all with human eyes that perceive near-perfect invest in capturing more data that will help
resolution (or at least interpreted that way by define infinite decision paths for VR users; edge
our brains). As our physical environments computing that will allow content to change
change, we react and respond based upon based on user responses and biometrics; and
personal inclinations, preferences, and fears. centralized data management tools to drive data
Recreating a digitized and virtual replica that analytics and infrastructure efficiencies.
transports a person into a new and believable
alternative reality is very difficult. Investment in data management has lagged
investment in media production, but this must
Computers are designed to produce predictable change. The importance of media production is
results with no flaws or inconsistencies, contrary indisputable, given that is where data intersects
to our real world; often, they have scenarios or with the end customers. it exposes a gap,
decision paths that limit what a user may do in a however, in companies having the right skill set
virtualized environment, thereby hindering the to improve, let alone excel, at data management.
sense of a believable alternate reality. Also
interfering with this task is the bulk and imperfect Media and entertainment companies scored the
resolution of today's VR headsets. In other words, lowest in hiring employees with the necessary
a believable virtual reality is beyond reach today skill set (Figure 4).
— but is destined to exist in the future.
Figure 4 - Employee skills
Finding Employees with the Right Skill Set
70%
60%
50%
40%
30%
Industry average
20%
Media and
entertainment
10%
0%
It’s a problem It’s not a problem
Source: IDC’s Data Age 2025 study, sponsored by Seagate
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 8
As in other industries, this creates a significant Given the dispersed nature of the rich data
opportunity for consultants and service assets, the media and entertainment industry is
companies to provide strategic support and significantly challenged in securing the data
direction to help media and entertainment that requires protection. Forty-three percent of
companies get their data management houses companies surveyed were challenged in
in order. understanding what data required protection,
as well as protecting it (Figure 5).
Figure 5 - Securing data
Ability to Secure All Data that Requires Protection
80%
70%
60%
50%
40%
30%
Industry average
20%
Media and
entertainment
10%
0%
Challenged Good understanding
Source: IDC’s Data Age 2025 study, sponsored by Seagate
There is perhaps no other industry that creates future, but it is an uncharted future where the
as much data for the purpose of consumption, value of this data is hard to quantify.
especially for entertainment purposes. Tied to
this entertainment, however, is the all-important One of the six DATCON assessment scores is
advertising dollar, which exacerbates the need related to the ability to understand the value of
for created content to be highly consumable and extract value from the data created and
… over and over again. stored. Given the difficulties stated above, it is
no surprise that the media and entertainment
Furthermore, how does one value the data industry scored the lowest compared to other
necessary to create virtual actors/actresses and industries in terms of its competency in valuing
storylines that cater to personal preferences data (Figure 6).
and draw viewership in the future? It is the
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 9
Figure 6 - Valuing data
Data Valuation Competency Industry Comparison
5.0
4.0
Financial services
3.0 Manufacturing
2.0 Healthcare
1.0 Media and
entertainment
0.0
Source: IDC’s Data Age 2025 study, sponsored by Seagate
The final area in which media and entertainment respondents indicated they
entertainment companies surveyed said they lacked a solid understanding regarding the
were significantly challenged was in predicting impending data growth headed their way
and managing the growth of their own (Figure 7).
Datasphere. Roughly 42% of media and
Figure 7 - Managing data
Understanding the Growth of Data
70%
60%
50%
40%
30%
Industry average
20%
Media and
entertainment
10%
0%
Challenged Good understanding
Source: IDC’s Data Age 2025 study, sponsored by Seagate
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 10Chapter 2
Revelations in the Media and
Entertainment Datasphere
The media and entertainment Datasphere is the slowest-growing industry Datasphere that IDC
evaluated, including the growth of critical and hypercritical (life-dependent) data (Figure 8).
Figure 8 - Data growth in the media and entertainment industry
The Media and Entertainment Datasphere
7
6
5
Zetabytes
4
3
2
1
0
2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025
Source: IDC’s Data Age 2025 study, sponsored by Seagate
In addition to the overall slow growth of this Figure 9 illustrates the growth trajectories of
Datasphere, the types of data that typically various data types that are part of the media
elevate the need for proper data management and entertainment Datasphere.
are slow-growing — outside of security.
Figure 9 - Critical data growth trends in the media and entertainment industry
Types of Data in the Media and Entertainment Datasphere
4.5 Data to be
secured
4.0
3.5 Real-time data
Zetabytes
3.0
Critical data
2.5
2.0 Analytics data
1.5
Hypercritical data
1.0
0.5 Artificial
intelligence data
0.0
2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025
Source: IDC’s Data Age 2025 study, sponsored by Seagate
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 11Of course, not all data grows at the same rate. The table below provides further insight into the
characteristics of the data in Figure 9.
2018–2025 % of 2018 Media and % of 2025 Media and
CAGR Entertainment Datasphere Entertainment Datasphere
Data to be secured 29% 52% 65%
Real-Time data 33% 12% 18%
Critical data 33% 3% 5%
Analytics data 49% 1% 3%
Hypercritical data 48% 0% 0%
Artificial intelligence data 62% 0% 0%
Source: IDC’s Data Age 2025 study, sponsored by Seagate
Personalized and targeted entertainment experiences.
The media and entertainment industry already Data analytics capabilities give Netflix the
provides consumers with countless options for ability to determine how content
entertainment content. The question is: How do recommendations are presented to individual
media and entertainment companies make users. The content may be the same, but the
consumers aware of the vast libraries of images, talent, or story elements may be
content they have available? Increasingly, emphasized or presented in different ways
companies are offering personalized content based on personal preferences and viewing
recommendations that are targeted to history. Through this attention to presentation
consumers’ interests. For example, Netflix is detail, Netflix can build better content-to-user
acquiring data from users to make personalized connections that increase the value of the
content recommendations. Typical metrics, recommendations. For example, by leveraging
such as what content was viewed and when, advanced data analytics, Netflix introduced the
are now being supplemented by more granular series House of Cards with a high degree of
elements such as when "fast forwarding" takes confidence that it would be a hit. Data actually
place. These granular elements add depth and drove the artistic direction of the show.
richness to the datasets used for content
recommendations by including nuances that Because of better data utilization and
are user-specific rather than a simply binary actionable insights, media and entertainment
notion of whether a piece of content was companies are already driving a more
viewed. personalized consumer experience with
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 12improved content creation, ad targeting, and better anticipate and affect consumer
scheduling. Companies also have found new decision-making. As an example, customer
revenue sources. For example, in the U.S., the experience could be improved by providing
Weather Channel implemented a proprietary ad complementary weather insight to a customer
targeting platform (WEATHERfx) that it could who is planning a trip on a travel website or
license to other networks. It allows the insertion providing real-time weather warnings through a
of weather intelligence dynamically into digital navigation application.
marketing platforms, allowing marketers to
Social connections.
Social media has given rise to influencers and Chanel experimented with computer-generated
producers who increasingly pose competition virtual influencer personas on YouTube,
for traditional media and entertainment Instagram, and Snapchat in particular. While
companies. These individuals have attracted these appear to be early-stage initiatives,
significant online audiences around the globe ever-advancing graphics, screen resolution,
for their animated commentaries or immersive AR/VR experiences, personalized
game-playing prowess via online channels such experience targeting, and artificial intelligence
as Twitch (owned by Amazon) and YouTube techniques create conditions for ongoing
(owned by Google). Many of these influencers development and improvement. This adds a
have gained a modicum of celebrity and play a new dimension for data to transform the media
critical role in shaping the value of data; more and entertainment industry from content and IT
importantly, they compete for screen time and infrastructure perspectives.
associated advertising dollars. For example, an
estimated 50% of the 15 million Twitch users The above examples highlight the importance
spend more than 20 hours a week watching for the media and entertainment industry to
content on Twitch. How do legacy media and improve its digital transformation and structural
entertainment companies compete against this? DATCON scores if it is going to compete
successfully for future viewers and advertising
At the same time, influencers can be virtual. In dollars. There are many opportunities for the
2018, fashion brands such as LMVH, Prada, and media and entertainment industry to improve.
Social media has given rise to influencers and producers
who increasingly pose competition for traditional media and
entertainment companies.
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 13Chapter 3
Recommendations for the Media
and Entertainment Industry
The media and entertainment industry is at DATCON 2. Many of its well-established
companies must invest in their data infrastructures to compete successfully against
digitally-native giants such as Amazon, Netflix, Baidu iQiyi, Youku Tudou, Maxdome
(in Germany), and Hotstar (in India).
Media and entertainment companies are facing increasingly competitive and fickle markets.
Consumers have more ways than ever to consume content, driving the need for organizations to
create, distribute, and manage data in smarter, more efficient ways than ever before. At the same
time, companies need to generate more revenue by capitalizing on new partnerships and
content-delivery opportunities.
Significantly upgrade the data-management infrastructure.
Companies should identify opportunities to leverage the cloud more aggressively. This is a
create, distribute, and manage data more first step to consolidating data, improving
efficiently to improve cash flow from current management efficiencies, and increasing its
operations. Many media and entertainment DATCON structural score.
companies expressed a strong desire to
Operationalize outcomes-based planning.
Set targets to grow consumer engagement and infrastructure to somewhat inadequate client
loyalty against new data-driven key devices (set-top boxes). In this case, data
performance indicators (KPIs) that will help collection about consumer viewing habits lies
bring context to the value of data. Advertising with the distributors, out of the hands of the
dollars follow viewership. The sector in large content creators. Media and entertainment
part has relied on content distributors to companies must take more ownership of their
manage delivery and customer experience. customer relationships so that they can
Look no further than cable TV for evidence: manage, anticipate, and monetize the
Media and entertainment produce great engagements and experiences.
content that is distributed over legacy
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 14Improve the utilization of analytics and AI to optimize performance
and determine how best to market content to optimize its consumption.
Media and entertainment companies should Dataspheres. Fine-grained data utilization is
not simply focus on keeping up with the key, but so too is data collection. Thinking
competition in terms of content production. creatively to anticipate new data elements to
Rather, the competitive environment capture drives a growing dataset on which
dictates that user experiences continuously to enhance the user experience. Key
improve, and companies must use innovative components of this shift include the need to
ways of harnessing data as a means to process more sources of data in real time,
achieve this. Market leaders, such as Netflix, protecting data security and privacy, and
set an example that others can follow as making data actionable.
they work to improve management of their
Weave a plan for security and privacy throughout all
data and analytics initiatives.
Beyond traditional security practices around newly acquired consumer data.
surrounding content, media and These must be leveraged to characterize and
entertainment companies must integrate profile customer viewing preferences and
new security and privacy technologies behaviors.
IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 15Chapter 4 Methodology The DATCON index is an indication of how well a particular industry is prepared to manage and capitalize on the data that is forecast to grow within that industry. Any given company within a particular industry may be above or below the calculated DATCON index for the industry. The DATCON index is a calculated score that is synthesized across six vectors and numerous metrics that emerge from surveys, research, industry experts, and other sophisticated modeling techniques. The six assessment vectors are: 1. Industry Datasphere This vector score is derived by analyzing the analytics, data that is leveraged in artificial growth trajectory of multiple types of data within intelligence applications, and real-time data. IDC’s Global Datasphere calculation for each industry. These types include critical and The Datasphere is the amount of new data that is hypercritical data, data that requires various levels captured, created, replicated, and consumed in any of security, data that is leveraged in big data given year. 2. Digital transformation and the third platform This vector score is derived by assessing an industry’s Digital transformation is the application of activity, initiatives, corporate sponsorships, investment, third-platform and related technologies to and other insights relative to a set of IDC’s fundamentally improve all aspects of society. For third-platform and innovation accelerators. These business, this means transforming decision-making innovations include the IoT, blockchain, big data, artificial with technology. intelligence, and digital transformation progress. 3. Structural score This vector score combines various metrics related IT spend as a percent of an industry’s gross output, to an industry’s structure (e.g., investment in edge IT, and leader/laggard condition). IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 16
4. C-level buy-in This vector scores the involvement of a company’s C-suite in sponsoring, leading, and budgeting for the various technologies across multiple metrics in the DATCON construct. 5. Data valuation competency This vector assesses the skills necessary to understand the value of data, as well as to monetize it or treat it as an asset. 6. Leadership (self-scored) This vector assesses a company’s perspective on its own competency in data management, data security, data leadership and vision, and availability of skilled data workers. It also evaluates how a company sees itself compared to its peers. IDC surveyed more than 2,400 companies worldwide across various industries to gather insight on current and future plans to invest in technologies important to digital transformation. Each metric within each assessment vector is weighted relative to its importance in achieving a high level of competence. Each assessment vector has also been weighted relative to its importance in achieving an optimized data-readiness state. The aggregate score becomes the DATCON level for the respective industry. All scores were informed by IDC proprietary models, primary surveys (as described above), expert insight, and direct interviews with various Fortune 1000 companies. IDC White Paper I Doc# US44446618 I November 2018 Media and Entertainment: DATCON 2 I 17
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